EZ Zz 
* — Order_of Sale 


Paintings 


Ow te 


Early English 


Modern Ba ccoony 
Schools 


FROM THE 


Sedelmever Galleries 


6, RUE DE LA ROCHEFOUCAULD, 6 
PARIS 


TO BE SOLD BY AUCTION AT 


The Ortgies Hrt Galleries 


366 FIFTH AVENUE, NEW YORK 


_ THURSDAY EVENING, APRIL 14, 1898. 
AT 8:15 O’CLOCK 


Robert Somerville, Auctioneer 


LIBRARY aie : 

M. KNOEDLER & CO, i Se aa : 
556-8 FIFTH AVE. ve Ra oy 
NEW YORK 


§ i 


Conditions of Sale. 


1. The highest Bidder to be the Buyer, and if any disputearise 
between two or more Bidders, the Lot so in dispute shall be big ey 
ately put up again and re-sold. Snares teas ae 


2. The Purchasers to give their names and addresses, and to 
pay down a cash deposit, or the whole of the Purchase-money z7— 
required, in default of which the Lot or Lots so purchased tobe = — 
immediately put up again and re-sold. i : 


3. The Lots to be paid for and taken away atthe Buyer’s risk 
and expense at the end of the sale, with all faults and errors of 
description, Messrs. Ortgies & Co. making no warranty whatever. 


4. To prevent inaccuracy in delivery and inconvenience in the 
settlement of the Purchases, no Lot can, or any account, be removed ~ 
during the sale. 


5. The Auctioneers will not be liable for non-delivery of any = * e. 
article above the amount paid by the purchaser for such article. 


6. Upon failure to comply with above conditions, all Lots shall 
be re-sold by public or private Sale, without further notice, and the 
deficiency (if any) attending such re-sale shall be made good by the 
defaulter at this Sale, together with all charges attending the same. ¥ 
This condition is without prejudice to the right of the Auctioneer — 
to enforce the Contract made at this Sale, without such re-sale,ifhe  . 
thinks fit. Mee Be 

Y, 


eon 


The authenticity of every Painting 
in this Collection is guaranteed by 


CHARLES SEDELMEYER, 


6 Rue de la Rochefoucauld 
PARIS 


is by Ssuae of studies for 
f the Mode 


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erie in color, “They went 
. Blakeslee gave considerable 
Reynolds and a Romney, the 


$8, 00, poe was a fine portrait of a 
es and, as has been said, is one 
e best examples of this Englishman’ 8 


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m ae the buyers present were R. Hall 
myo Cs Lambert, George «A: 

. Blakeslee, Rowland Knoedler, 

Mag Stanford White, L. G. 


Bloom ory a3 "Ogden, E, Brandus, ae 
as. Scripps of Detroit, and many of the 
| dealers, The total amount of the sales was 
2,430. A list of the principal pictures, 
prices and the buyers, where the names 
| were given, is appended: é 


| PAINTINGS OF THE EARLY ENGLISH 


ae - SCHOOL. 

i 

Gainsborough, okie: 45 sce Le Nain; 

| -Brandus . ay $7,900 
| Reynolds, “portrait “of. Mrs. Bernard: ban! 
ee OP AMAOR IGE isk Suki. vies kde be lelve lsc 5,900 
| Romney, portrait of Miss micaner Gor- 
bi oden; tT. J. FUT OO ae 8,000 
| Opie, ‘portrait of Mrs. Coxe; ——.......... 2,500 
| Shee, portrait of Mrs. Norton; me ay. 

Bie EMMA NTIS Conseil uece, iss ones. ek 1,200 


Constable, “The Embarcation of King 
George IV. from’ Whitehall, on the 
eda aal a of the opening of ‘Waterloo 


pweriGges Rando pi ARENT ele iy dees 2,500 
cer Lake Thun, _ Switzerland; Ty 
Miller Miele dies Bar Sale Pan ha oN aha earch was 4,400 
PAINTING On? Te EARLY FRENCH 
SCHOOL, 
Largilliere, portrait of James Francis i 
Edward Stuart; ——.......... FED Sep aI GF $1,800. 
PAINTINGS BY MODERN ARTISTS. 
Corot, Lake Nemi; Knoedler.. . $4,100 
Munkacsy, Flirtation; Brandus. . Pantano, oul 
Von Brozik, Punch-and-Judy . in "the 
PIOMICR ewe OLIN TAINS hae dice suis ee tty 1,500 
Reading the Bible; Lambert. ............ 2,400 
Von Pettenkofen, ‘Encampment of Bo- 
hemians .... . 1,600 


Charlemont, The “Artist Van de Velde in 
His Studio; SPELLS, ewe curse ite Wtewing swio ue 


‘A Cup of Yi Med at ea aa 

Van Dyck’s Studio........ 
| Lessi, The Card Players... 1,500 

The Violinist of the Convent. We uae wiuers 2,300 
HP eVOaGine Al VOC UM CTU. isha be cie'uvc ec oy at ae D00. 
Meissonier, La Vedette...............005 gece lng 
lie hae White Horse; Robert C. Ogden.. 750 
Fortuny, A Spanish Lady (aquarelle).. 300 


| Study of a Field; George F. ‘Brownell 125 
| Interior a Courtyard (sketch); Blu- 
ie ATVOB EOD ee callin s cigigad were’ ai tie’ ashlee, aie toe otal 140, 
Three Studies for “‘The Choice of ik’ 7 : 
Mode!l;” Edward Wasserman.,...sss0s 610 | 


{ 


EN 


Early English and French and Modern EBuro-) 
péan Paiatings Sold at Auction. 


A sale of twenty-seven early English and | 
modern Huropean paintings and forty-one can- 
} vases by Hugéne Jettel was held at the Ortgies 
Galleries, 366 Fifth avenue, last night. There 
| was a large attendance of collectors and dealers, 
\ and while the sale did not realize as much as it 
was hoped it would when it was first arranged, 
| better prices were received for many of the pic- 
tures than had been expected. 

. The Jette! pictures brought all the way from 
} $100 to $700. Among the purchasers of them. 
f- were Robert ©. Ogden, J.S.Scripps, John D. 

Crimmins and Justice Truax, and several deal- 
“ers. Among the pictures sold were the fol- 
lowing: 


HARLY ENGLISH. 


Portrait of Miss Le Nain, by Thomas Gainsborough, 
R. A.; E. Brandus, $7,500. 
- Portrait of Mrs. yee by Joshua Reynolds, P. 
| R. Au: T. J. Blakesl2, $5,500 
| "Portrait of Miss Eleanor Gordon, by George Rom- 
l ney; T. J. Blakeslees, $0,000. 
Portrait of Mrs. Coxe, by John Opie, R. A.}3 
2,500 
' Portrait of Mrs. aoe ag by Sir Martin Shee, P. R. A.¢ 
| J.D. Crimmins, 41,20 
The Embarcation of Oxine George IV. at Whitehall | 
on the Ore .sion of the Opening of. the Waterloo | 
Bridge, by John Constable,——--, $2,500.- 
Lake Tnun, Switzerland, by Joseph M. W. Turner; 
Mr. Randolph, $4,400. 


EARLY FRENCH. 


Portrait of James Francis Edward Stuart, by Nich- 
' olas Largilliere; ———, $1,300 


MODERN EUROPEAN. 


Encampment of Boh2mians, by August von Petten- 
kofen; C. Lambert, $1,600. 
Reading a Document, by Tito Lessi: ———, $1,500. 
A ©Oup of Tea, by Edouard Charlemont, ———; 
2,550. 
‘ Reading the Bible, by Vacslav von Brozik; C. Lam- 
bert, $2,400. 
The Card Players, by Tito Lessi; , $1,500. 
Punch and Judy in the Home, by Vacslav von 
Brozik; J.D. Crimmins, $1,50 
La Vedette, by Meissonier; ———-, $3,400. 
Lake Nemi, by Corot; ———-n, $4, 100. 
The Artist Van de Veldein His Stu dio, by Edouard 
‘Oharlemont; KE. Brandus (on order), $7, 660, 
ae Ach of the Convent, by ‘tito Lessi; ———, } 
2,3 
f Van Dyke’ $ Studio, by Edouard Charlemont; ———, | 
' $2,800. | 
The total sales amounted to $82,430. The | 
eollection consisted of selections from the 


. 


Sedelmeyer galleries in Paris, and the authen- |. 


Hier he pictures have been guaranteed. | 
When they were brought to this country it was | 
intended to sell them privately, but owing to 
their having been delayed in transit by the ac- 
Gident to the steamship La Champagne a public 
sale was decided on. Robert Somerville acted 
as auctioneer: 


“modern Huropean 


tion at the Fifth Avenue Art 


Sixty-seven pictures by 


meyer galleries, in Paris, 


evening for a total a egy 
vases sold, SOr ee 
the Austrian lands 
or 
works, although hav m 
yet sufficiently known in. 
them, sought after T 
ranging from $110 to $ and. 
in Holland,” sold for Ke 00. Thi 
prices which the r 
sured the more. notable, cons 
present depressed condition eri 
trade due to the :war agitation. 
Fischoff, Mr. Sedelmeyer’s partner and } 
manager of the sale, expressed iened ow a 
its conclusion as being well satisfied with | — 
the result. ay 
The gallery where the sale took 
was well filled when Auctioneer Sor 
called the first number at 8 P. M.- 
leading dealers and collectors were pr 
ent at this the last important art sa 
the season, and there were many 
nent men and women in attendance, 
highest figure of the sale, $8,100, jwas 4 
by Charles Blakeslee for acenb’s charenett 
ing and effective portrait of Miss he, uae , 
Gordon, G. Miller paid $4,400. for the 
mer, an early example, “ Lake 
Switzerland,’ and Edward Brandus 
Gainsborough’ s pr epee 3 portrait of 
Le Nain for $7,500, the Sir. Je 
Reynolds “ Portrait of Mrs, B . 
markably well preserved, rich i 
mellow in color, for $5,500, John 
mins paid $1,200 for Sir Martin Shee’ $s Por | 
trait of Mrs.° Norton,” and Ra Ha oe 


zik’s admirable genre, ‘ 

Home.’’ 
The four small examples of Fortuny, in- 
cluding three studies and an aquarelle, sold 
well. George F. Brownell paid 3125 
“Study of a Field,’ Mr. Blumenstiei ee 
for the sketch “Interior of a Courtyard,” |) | 
and Edward Wasserman $610 for the studies ‘ 
made for the painting ** hoosing a Model.” 
Meissonier’s ‘* White Horse ’’ went to R. fey 
Ogden for $750, and ‘Corot’s e Nemi” 
to Knoedler & Co. for $4,100, while Edward | 


Brandus bought | Munk acsy’s. af Leer 
genre, : Plirtation ” for $5,500, an 4 
ments “Van de Velde in Ells Studio " oF | 


Among the buyers of the Jettels 
Judge Truax, George T. rownell, . | oe 
James Scripps of Detroit. 'The. en was || 
conceded by the dealers aha tit = have fF 
been unusually successful. } 


wer 


~ 


2+ 
A COLLECTION 7% 7 


Ok EAINTINGS 


REPRESENTING LEADING MASTERS 


Early English | 


MODERN EUROPEAN 
SCHOOLS 


Pe eC IALLY SELECTED FROM 


The Sedelmeyer Galleries 
6 RUE DE LA ROCHEFOUCAULD | 
PARIS 


ON EXHIBITION AT 


Che Ortgies Galleries 


366 FIFTH AVENUE, NEW YORK 
FROM APRIL oth TO APRIL 14th, 1898 
AND TO BE SOLD BY AUCTION ie 
AT 8:15 O’CLOCK 
THURSDAY EVENING, APRIL 14 


Conditions of Sale. 


1. The highest Bidder to be the Buyer, and if any dispute 
arise between two or more Bidders, the Lot so in dispute shall 
be immediately put up again and resold. 


2. The Purchasers to give their -names and addresses, and 
to pay down a cash deposit, or the whole of the Purchase-money 
if required, in default of which the Lot or Lots so purchased to 
be immediately put up again and re-sold. 


3. The Lots to be paid for and taken away at the Buyer’s 
risk and expense at the end of the sale, with all faults and errors 
of description, Messrs. Ortgies & Co. making no warranty 
whatever. 


4. To prevent inaccuracy in delivery and inconvenience 
in the settlement of the Purchases, no Lot can, on any account, 
be removed during the sale. 


5- The Auctioneers will not be liable for non-delivery of any 
article above the amount paid by the purchaser for such article. 


6. Upon failure to comply with above conditions, all Lots 
shall be resold by public or private Sale, without further notice, 
and the deficiency (if any) attending such re-sale shall be made 
good by the defaulter at this Sale, together with all charges at- 
tending the same. This condition is without prejudice to the right 
of the Auctioneer to enforce the Contract made at this Sale, with- 
out such re-sale, if he thinks fit. 


PREFA TORY 


It is a most unusual thing that a collection of paintings con- 
taining representative works of the highest tmportance by leading 
masters of the Early English school comes to be offered by public 
auction in the United States ! 

The collection herewith exhibited was brought to this country 
by Mr. Eugene Fischhof, son-in-law and partner of Mr. Charles 
Sedelmeyer, of the noted Sedelmeyer Galleries of Paris. 

Mr. Fischhof brought these works with the intention of pre- 
senting them privately to the attention of the leading amateurs in 
the different cities, but this plan was interfered with by the acci- 
dent and long detention ez route of the steamer, ‘‘ La Cham- 
pagne,’’ by which most of these pictures were shipped. When 
they finally arrived, the season was so nearly ended and the period 
of Mr. Fischhof’s possible stay in America was so very limited, 
it was determined to offer the paintings at public sale, rather 
than return them to Europe or hold them in storage here until 
next year. Despite various untoward conditions in the political 
world, it was believed that the importance of these works would 
attract such attention and competition that their sale in this 
manner could not result in serious loss. 

To those who may enjoy the privilege of seeing these works 
of early English and modern European masters, the pictures will 
express more in their own favor than can be conveyed by any 
printed description or comment. To those living at a distance, 
however, from New York, it is hoped that the illustrations and 
text of this catalogue will give some slight idea, at least, of the 
sterling character of the collection and its component parts. 


* * * 


It is very rare that works of such quality as the portrait of 
Miss Le Nain, by Thomas. Gainsborough; the portrait of Mrs. 
Barnard, by Sir Joshua Reynolds; the portrait of Miss Eleanor 
Gordon, by George Romney; the portrait of Mrs. Norton, by 


Sir Martin Arthur Shee, and the portrait of Mrs. Coxe, by John 
Opie are assembled together in one collection to reflect honor upon 
the greatest school of Portrait Painting the world has ever seen. 
Another portrait, in artistic relationship to these, though of a 
different school, is a famous work by Nicolas Largilliere, a 
French painter belonging to the century before that of the great 


Englishmen. This.picture represents James Francis Edward | 


Stuart—son of King James II. of England. 


And not only are the early English portrait painters repre- 
sented :—the two men most potent in early English landscape art 
also have contributed to this collection. John Constable is repre- 
sented by ‘‘ The Embarcation of George IV. at Whitehall on the 
occasion of the Opening of the Waterloo Bridge ’’—a picture in 
which the more tender side—the subtle, quiet, finished manner of 
the artist finds expression. 

While the picture by J. M. W.. Turfier=is ome “of his earlier 
works, it has in it the promise of what was to come after it. But 
it also has in it efficient performance as well as high promise, and 
would be an exceedingly interesting picture if its author were 
even entirely unknown. 


Among the men of the modern European schools who are. 


represented, there are several giants. Meissonier, Pettenkofen 
and Fortuny stood at the head of the artists of their respective 
countries. Each of these men possessed certain of the character- 
istics of the others, but each also was most distinctly individual— 
absolutely unique in his line. While the Italian painter Lessi 
comes very close to Meissonier in accuracy of drawing and 
subtlety of technique, he, too, is individual in his expression, and 
works out his artistic salvation in a manner quite his own. 
Charlemont is another artist who is a master of detail, and his 
work is different from that of any of the others. He is remarkable 
for the strength and brilliancy of his color—a worthy descendant 
of Pieter de Hoogh in this particular. 

Munkacsy, ‘the painter of ‘the ‘‘ Christ before Pilatey™ sine 
‘‘Calvary,’’ the ‘‘ Mozart’’ and other great works which have 
attracted the attention and admiration of the art world, is another 


of the modern painters represented. Munkacsy and his former 
comrade, Brozik, occupy quite a different field from that of 
Meissonier, Fortuny and Lessi. With Munkacsy detail is suggested 
rather than closely imitated ; his technique is broad and sweeping ; 
he marches to the sound of trumpets, with banners flying and 
drums beating. Brozik is rather more conservative; his work 
is most carefully studied, and his drawing is remarkable for its 
precision. He has received wide recognition, and has been the 
recipient of many distinguished honors during the last few years. 


* * %* 


The greatest of modern—indeed of ancient and modern land- 
Scape painters was Corot, and Corot is here represented by a 
thoroughly characteristic and beautiful work. It was painted in 
that enchanting region whence Corot drew inspiration for many 
of his most charming pictures—Lake Nemi, in Italy. 

Another landscape painter—not so great nor so widely known 
as Corot, but with some of the characteristics of Corot, Daubigny 
and Rousseau—a man who works in the right spirit; who seeks 
not only to represent, but to interpret Nature as well —is Eugene 
Jettel. By him there is shown a comprehensive collection of 
pictures; a collection that shows his manysidedness and that 
reveals not only his versatility but his spontaneity. Jettel’s 
reputation is established, but the future has much in store for him 
and his work. His is still a growing reputation which promises 
rewards in future for the investments of to-day. 

* *k * 

Not only is this collection of paintings remarkable, but the 
suarantee of the absolute authenticity of every picture in the 
collection is a remarkable departure from the usual custom 
regarding works of art sold by auction. And this, as well as the 
collection itself is to be commended. The reputation of Mr. 
Sedelmeyer as one of the first experts of painting in Europe, and 
the standing of his house for the last forty years, give this 
guarantee very practical value. 

GHAR savas UR 7. 
New York, March 25, 1808. 


THE AUTHENTICITY 


OF 
Every Painting 
in this Collection | 


IS GUARANTEED 


BY 
Charles Sedelmeyer 
6 RUE DE LA ROCHEFOUCAULD 


PARIS 


THOMAS GAINSBOROUGH, R. A. PORTRAIT OF MISS LE NAIN 


oe 


Y S 3 eae THOMAS GAINSBOROUGH, R. A. 


Born at Sudbury, Suffolk, England, in 1727; died in London, 
August 2, 1788. At the age of fourteen he went to London and 
for four years was a student in St. Martin’s Lane Academy. He 
was a pupil of Gravelot, the French engraver, and studied draw- 
ing with Francis Hayman. He returned home from London in 1744 
and, in 1760, settled in Bath, where he devoted himself especially to 
portrait painting. In 1774 he went back to London and achieved 
such great reputation that he was considered the rival of Sir Joshua 
Reynolds in portrait painting and of Richard Wilson in land- 
scape painting. In 1766 he became a member of the Society of 
Artists, and he was one of the Foundation Members of the Royal 
Academy. 


The great charm of Gainsborough’s work is in its reserve, its subtle 
beauty, and its invariable refinement. While his color has not the sort of 
‘*martial’’ splendor that one finds in the works of some of his contemporaries, 
it is always exquisitely harmonious, and its power grows upon one. It hasa 
sensitive quality. Gainsborough, more than any other artist, portrayed the 
grace and elegance of his time. His interpretation of character was always 
of the best that was in his subject, and while his portraits are strongly per- 
sonal and are wonderful in their expression of vitality, they all have an air of 
distinction that, no doubt, often proceeded more from the artist than from his 
sitters. With such power to ennoble his patrons, it is not strange that Gains 
borough achieved such great success in his profession. 


I 
PORTRAIT OF MISS LE NAIN 


Canvas, 29% x 24% inches. 
From the collection of A. Wright, Esq., Liverpool. 


Life-size head and bust of a handsome young woman, nearly 
facing the observer. She is garbed in a pink dress, with low 
corsage and with a filmy gold embroidered gauze scarf lightly 
| thrown around her and held in place by her right hand. Her 
| brown hair, combed out from her head, falls to her shoulders. 
She wears a light head-dress, with gold threads running through 
it. The figure is seen through an oval opening, with gray-green 
background. 


REYNOLDS, SIR JOSHUA, P. R. A. 


Born at Plympton, Devonshire, England, July 16, 1723; died 
in London, February 32, 1792. He went to London in 1741 and 
became a pupil of Thomas Hudson. After less than two years of 
study, he returned to his home and painted portraits. He estab- 
lished himself in London in 1746. In 1749 he went to Italy to 
pursue his studies further, and continued there during three years, 
particularly studying the works of Titian and Paul Veronese. In 
1768, upon the establishment of the Royal Academy in London, 
Reynolds was chosen its first President. He was knighted by 
King George III. in 1769. He held the Presidency of the Royal 
Academy for twenty-one years. On the death of Allen Ramsey, 
in 1784, he became Painter in Ordinary to the King. He was 
buried in St. Paul’s Cathedral, near the tomb of Sir Christopher 


Wren. 


Ruskin calls Sir Joshua ‘‘ the Prince of Portrait Painters ’’ and ‘‘ one of the 
seven colorists of the world,”’ ranking him with Titian, Giorgione, Correggio, 
Tintoretto, Veronese and Turner. Of him says Allan Cunningham: ‘‘In 
character and expression and in manly ease, he never has been surpassed. 
He is always equal—always natural—graceful, unaffected. His boldness of 
posture and his singular freedom of coloring are so supported by all the grace 
of art, by all the sorcery of skill that they appear natural and noble. Over 
the meanest head he shed the halo of dignity; his men are all nobleness, his 
women all loveliness and his children all simplicity: yet they are all like 
the living originals.”’ 


2 
PORTRAIT OF MRS. BARNARD 


Canvas, 50 X 40 inches. 


Three-quarter length figure of a lady, seated, the face turned 
slightly to the left. She wears a dress of some light material with 
a flowered figure. Partly thrown about her is a robe of red velvet. 
In her right hand she holds a book. She wears bracelets of pearls 
and there are pearls wreathed in her dark hair. There is a vista 
of landscape beyond the figure, and the head is relieved by a back- 
ground of dark cloud. Asa characteristic example of the work of 
Reynolds, for richness of color and excellence of preservation, this 
picture is noteworthy. 


BARNARD 


PORTRAIT OF MRS: 


A 


ap iks 


P. 


7 


SIR JOSHUA REYNOLDS 


L — 
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(ga oes - ~ 
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. 
< ‘ ‘ 
—? = 


GEORGE ROMNEY. PORTRAIT OF MISS ELEANOR GORDON 


Ae 


O 
O 


ROMNEY, GEORGE 


Born at Dalton-le-Furness, Lancashire, England, December 15, 
1734; died at Kendal, November 15, 1802. Studied for a time 
with Steele—a painter at Kendal—and then supported himself by 
painting portraits in the North of England until 1762, when he 
went to London. In that year and in 1765 he gained prizes from 
the Society of Arts for his pictures ‘‘ The Death of Wolfe’’ and 
** The Death of King Edward.’’ In 1773 he visited Italy. Two 
years later, he established himself in London, where, until 1747 
(when he removed ,to Hampstead), he divided public patronage 
with Reynolds and Gainsborough. 


He painted with refined and modest coloring, with great breadth of treat- 


’ ment and often with exceeding grace and sentiment. His work is never with- 


out charm. His flesh-tints are fresh and his treatment of hair, though slight, 
is truthful and facile.— Cyclopedia of Painters and Paintings. 


3 
PORTRAIT OF MISS ELEANOR GORDON 


Canvas, 49 x 3934 inches. Inscribed, ‘‘ Miss Eleanor Gordon.”’ 


Three-quarter length, life-size portrait of a very attractive 
young woman with dark hair and eyes, seated in a red velvet 
chair, with her face slightly turned to the left, but her eyes looking 
toward the spectator. She wears a loose white dress with a red 
silk sash, and red ribbons in her hair. In her hands, lying in her 
lap, she holds a piece of music. The background is an idyllic 
landscape, with sunset glow over distant hills and deep blue sky 
above. Two trees with rich brown autumnal foliage are seen 
beyond the figure. The face is a charming one and the flesh- 
painting represents Romney at his best. It is like life itself! The 
pose is easy, natural and graceful, and the work as a whole, while 
simply and broadly painted, is full of refinement. 


OPIE, JOHN, R. A. 


Born at St. Agnes, near Truro, Cornwall, England, May, 1761 ; 
died in London, April 9, 1807. He began to paint when ten years 
old, and received orders for portraits at seventeen.. In 1780 he 
went to London, where he was introduced to Sir Joshua Reynolds, 
who became his friend. He was elected Associate of the Royal 
Academy in 1787, and Royal Academician in 1788. In 1805, he 
was made Professor of Painting in the Royal Academy schools. 


~ 


4 
PORTRAIT OF MRS, COX8 


Canvas, 46 x 36 inches. 


Three-quarter length portrait of a handsome young woman of 
vivacious expression, with light hair and blue eyes, seated facing | 
the observer. She wears a dark red gown with low neck and 
short sleeves. Her right arm rests upon the high end of the seat 
upon which she is sitting, and the hand rests upon her left cheek. 
Her left arm reaches to the seat, slightly to the right of the figure 
as viewed by the spectator. The background is mostly blue sky, 
with a suggestion of landscape in the lower portion of the com- 
position. At the right are dark tree trunks with dense foilage. 


JOHN OPIE, R. A. PORTRAIT OF MRS, COXE 


x 


“SIR M. A. SHEE, P. R. A. PORTRAIT OF MRS. NORTON 


/ 


a 


O 
4,0 


SHEE, SIR MARTIN ARTHUR, P.R. A. 


Born at Dublin, Ireland, December 20, 1769; died at Brighton, 
England, August 19, 1850. Pupil of the Dublin School of Design. 
He achieved some reputation in his native city as a portrait 
painter, and then, in 1788, went to London. In 1708 he was 
elected Associate of the Royal Academy. He was made a Royal 
Academician in 1800, and was elected to the Presidency of the 
Royal Academy in 1830, receiving at the same time the distinction 
of Knighthood. 


5 
PORTRAIT OF MRS. NORTON 


Canvas, 45.4 x 35} inches. 


Three-quarter length portrait of a lady, seated, facing the ob- 
server. She wears a white satin gown with ruche of lace and 
gauze, a crimson hat with white feathers, a necklace of pearls, 
pearl earrings and richly jeweled bracelets. From beneath the 
red hat escape clusters of dark brown ringlets. A fur cloak, lined 
with pink silk, is thrown across the red chair upon which she is 
seated. 


we 


a 


gs 


» 


1 0 


CONSTABLE, JOHN, R. A. 


Born at East Bergholt, Suffolk, England, June 11, 1776; died in 
London, March 30, 1837. He became a pupil of the Royal 
Academy in 1799. Later, he studied with Joseph Farrington and 
R. R. Reinagle. After painting portraits and historical pictures 
for some time, he turned to landscape art as his real vocation and 
exhibited his first picture in 1802. He was elected Associate of 
the Royal Academy in 1819 and Royal Academician in 1829. He 
found early recognition in France, where, among all British 
painters, he was the first whose works found high esteem. His 
influence had much to do with the evolution and growth of the 
‘Barbizon School’’ of painting. When his ‘‘ Haywain’’ was 
shown in Paris, in 1825, Constable was awarded by the King a 
gold medal as a tribute of the appreciation in which it was held. 


6 


THE EMBARCATION OF KING GEORGE IV. FROM 
WHITEHALL ON THE OCCASIONS ORasae 
OPENING OF THE WATERLOO BRIDGE 


Canvas, 13% x 19% inches. 
From the collection of J. Orrock, Esq.* 


A view up the Thames toward the city. On the water, near the 
foreground, are a number of boats with brightly costumed figures 
going aboard. Across the river, a stretch of buildings borders the 
shore, and, in the distance, one sees the arches of the bridge and 
the familiar dome of St. Paul’s. There is a tender blue sky with 
light cumulus clouds. Bright green trees grow near-the shore at 
the extreme left. This is one of the brightest, most luminous 
pictures that has come from this artist. It is exquisitely pure and 
beautiful in its coloring, and has a silvery quality that is both 
exceptional and remarkable. 


*Mr J. Orrock is a great connoisseur, and is considered in England the highest authority 
on the early English masters—especially Constable. 


2 


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TURNER, JOSEPH MALLORD WILLIAM 


Born in London, April 23, 1779; died there, December 10, 1851. 
Premedieted ine schools of the Royal Academy in 1789. He 
studied perspective under Thomas Malton and architecture under 
Hardwick. He was elected Associate of the Royal Academy in 
1799, and Royal Academician in 1802. About the same time, he 
visited Scotland, France and Switzerland. In 1807 he became 
Professor of perspective in the Royal Academy. He visited Italy 
in 1819, 1829 and 1840. At his death, he left the pictures in his 
studio to the nation. 


8 
LAKE THUN, SWITZERLAND 


Canvas, 27% x 35% inches. 


[This work, which was an early production of the artist’s, was bought from 
Mrs. Dalton, widow of Mr. Dalton, a friend of Turner, who received it direct 
from the master himself. } 


A view across the lake, which is bordered by high mountains, 
the summits of which are partly lost in the clouds. A large rocky 
promontory juts out into the water in the middle distance. The 
sky is filled with masses of rapidly moving clouds. There isa 
feeling of wind and storm. <A small boat—in which are three men 
—with sails reefed, is making its way across the turbulent water 
with difficulty. In truthfulness to nature, in vigor and sweep of 
movement and in harmonious coloring, this picture is especially 
noteworthy. 


0" 


\ 
LARGILLIERE, NICOLAS 

Born in Paris, October 10, 1656; died there, March 20, 1746. 
Pupil of Anton Gouban, at Antwerp. Was received into St. Luke’s_ 
Guild in 1672. He went to England in 1674, where hesrestored 
certain pictures by the Old Masters at Windsor, and painted 
some compositions of his own. In 1678 he returned to Paris, and, 
during six years that he lived there, he gained great reputation as 
a painter of portraits. After this, he again went to England and 
painted James II. and his queen. He was made a member of the 
Academy in 1686; Professor in 1705 ; Rector in 1722, and Chan- 
cellor in 1743. He painted the portraits of many of the most 
distinguished personages of his time in France and England. 


9 
PORTRAIT OF JAMES FRANCIS EDWARD STUART* 


Canvas, 62% x 50% inches. 
From the collection of Sir Julian Goldsmid, Bart. 


Nearly full length life-size, in armor, standing, his head bare, 
his right hand resting on his helmet. Landscape background, 
with a skirmish going on, and, far beyond, to the right, some 
buildings. 

* James Francis Edward Stuart, known as the Chevalier de Saint George, or the Old Pre- 
tender, was the son of King James II. by his second wife, Mary of Modena. He was born June 


10, 1688, at St. James’s Palace; was married in 1719 to Clementina Maria Sobieski, granddaughter 
of John III , King of Poland, and died at Rome in 17—. 


28 


NICOLAS LARGILLIERE. PORTRAIT OF JAMES FRANCIS EDWARD STUART 


IWAN dNVI “LOYOO ‘O°’ ‘fF 


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COROT, JEAN BAPTISTE CAMILLE 


Born in Paris, July 20, 1796; died there, February 23, 1875. 
Pupil of Michallon and Victor Bertin. He went to Italy in 1826, 
and painted many pictures in the neighborhood of Rome. He 
received medals at the salon, Paris, in 1833, 1848 and 1855, and 
a gold medal at the -Exposition-Universelle of 1867. He was 
made a Chevalier of the Legion of Honor in 1846 and an Officer 
of the Legion in 1867. Hewas accorded the Diploma to Deceased 
Artists at the Exposition-Universelle of 1878. 

In studying Nature, Corot learned to couple breadth of treatment with careful 
though not obtrusive detail. An eminently suggestive and refined painter, gifted 
with poetical and tender feelings, he has, from his peculiar excellence in treating still 
water, the sleeping woods, the broad, pale horizon and the veiled sky, been called 


the Theocritus of Landscape Painting. By an American poet he has been char- 
acterized ‘‘ the painter of the essences of things.”’—Cyclopeedia of Arts and Artists. 


Corot, the original, the most accomplished and the most conservative of this 
modern French school, forms the transition from the classic to the modern landscape, 
recognizing no antagonism between them, passing from the instruction of Michallon, 
the pupil of Valenciennes, to evolving in his own practice the essential principles of 
the modern interpretation of Nature through an ardent inquiry into all her realities. 
* * * Jn his landscapes he suppresses all but the significant, and gives the 
constant features, those upon which Nature works her changes, and, therefore, 
presents her ever ready for change, in indecision—‘‘ on the wing.”’ His sketchiness 
of treatment arose from knowledge, the comprehensive knowledge that, choosing 
from all, gives the best. * * * Corot and Julus Dupre are the poets of Nature’s 
power to reflect the sentiments of man.—Stranahan : History of French ‘Painting. 


10 
LAKE NEMI 


Panel, 24x 27% inches. Signed at the right, ‘‘ Corot, 1851.” 


An opening through the forest gives a view looking down upon 
the lake, which reflects the color of a tender twilight sky. Two 
women stand on the hill which slopes down to the lake, and below 
them, nearer the water, is a redcow. There isa thick group of 
trees in the foreground, at the left, in shadow. They are painted 
in a broad, simple, forceful manner that enhances the contrasting 
delicacy of the distant verdure-clad hills, which are in pearly 
shadow, but with touches of rosy light at their highest points. 
The whole picture is suffused by the hazy atmosphere of a 
summer evening. 


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MUNKACSY, MIHALY DE 


Born at Munkacs, Hungary, October 10, 1846. He first studied 
under a local portrait painter at Gyula, then became a pupil of the 
Vienna Academy, and later, of Franz Adam, in Munich, where he 
won three first prizes. In 1867 he went to Dusseldorf, and there, 
incited by Knaus and Vautier, he. devoted himself to genre 
painting. In 1869 he established his reputation by the picture 
‘The Last Day of a Condemned Man,’’ which was bought by an 
American, the late C. H. Gibson. of Philadelphia itis 22am 
settled in Paris. He received medals at the Salons of 1870 and 
1874; a Medal of Honor at the Exposition-Universelle of 1878, and 
the Grand Prix at the Exposition-Universelle of 1889. He was 
made a Chevalier of the Legion of Honor in 1877; an Officer of 
the Legion in 1878, and Commander in 1890. He was elected a 
Member of the Munich Academy in 1881; was made a Knight of 
the Order of Letters and Arts, of Austria, and was created a Baron 
by the Austrian Emperor. 


ek 
FLIRTATION 
Panel, 4514 x 3534 inches. Signed at the right, ‘‘M. Munkacsy.”’ 


A young woman in a gray dress, working at an embroidery 
frame, is interrupted in her task by a young man in a light reddish- 
brown costume who stands near her, leaning on the back of a red 
velvet cushioned chair. A dark oak armoire is behind him and 
there is a rich red rug-on the floor. Between the figures, in the 
background, is a geranium with. bright red blossoms. The 
picture is painted in full, rich, flowing color and is very character- 
istic of the artist. 


34 


M. DE MUNKACSY. FLIRTATION 


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| BROZIK, VACSLAV VON 


Born at Tzcmoschna, near Pilsen, Bohemia, 1852. Pupil of 
the Academy at Prague, the Academy at Munich, under Piloty, and 
of M. de Munkacsy in Paris. He received a medal at the Salon of 
1878, and gold medals at Expositions at Berlin, Vienna, Munich and 
Brussels. He was madea Chevalier of the Legion of Honor in 
1893, and an Officer of the Legion in 1896. Member of the Insti- 
Powe ome ie isa Knioht of the Order of Francis. Joseph, of 
Austria; Commander of the Order of Letters and Arts, of Austria ; 
Knight of the Order of Léopold of Belgium, and of St. Michael of 
Bavaria. He was created a Baron by the Austrian Emperor in 
1897, and has been appointed Painter to the Imperial Family of 
Austria. He is also Director of the Academy of Fine Arts at 
Prague. 


IZ, 
PUNCH-AND-JUDY IN THE HOME 
Panel, 37x52 inches. Signed at the right. ‘‘ V. Brozik.’’ 


A number of handsomely dressed children, in a luxurious apart- 
ment, are being entertained by a Punch-and-Judy show. Each 
child s face is a study, reflecting the individual impression. One 
of the little ones, of an inquiring turn of mind, seeks to unravel 
the mystery of the stage management, but a sturdy little boy, 
seated near the side of the box, keeps her back. In composition 
this picture is exceedingly well balanced, and in color it is very 
rich and effective. 


BROZIK, VACSLAV VON 
(See No. 12.) 


13 
READING THE BIBS 
Canvas, 36 x 55 inches. Signed at the right, *‘ V. Brozik, ’80.” 


In a large family apartment in a chateau, a handsome young 
woman is reading aloud from a large illuminated parchment vol- 
ume. Two elderly persons—a man and his wife—seated before 
her, a young woman at their left, and a young man standing near 
the reader, are intently listening. The reader is garbed in a rich 
costume of silk brocade, the elderly couple are in black satin, and 
the other young woman has a pink satin dress, while the young 
man wears a gray suit with broad lace collar and cuffs. The 
furnishings of the apartment are of the most rich and costly de- 
scription. An old canopied bed, with crimson velvet hangings, 
occupies a central position in the background, and rich cabinets 
laden with porcelains, glass and various objects of art, fill the re- 
maining spaces along the walls. Above them hang costly pic- 
tures. On the floor is a gorgeous rug in which red is the predomi- 
nating color. The composition is full of interest, and the color is 
peculiarly rich and glowing. The figures are well drawn and are 
fine in expression. Every detail of the work has been painted 
with the most conscientious care. 


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| PETTENKOFEN, AUGUST VON 


Born in Vienna, 1821. Pupil of the Academy in Vienna. 
Served in the Austrian army, in which he gained the rank of 
captain. When his term of service ended, he returned to the 
brush and became the foremost painter of his country. From his 
experiences in the field and with the Hungarian contingent of the 
army, he has drawn the subjects for many of his works. He was 
made a member of the Vienna Academy in 1866, of the Munich 
Academy in 1867, was knighted in 1870, and was made a Professor 
in 1880. 


14 
ENCAMPMENT OF BOHEMIANS 
Panel, 9% x 16 inches. Signed at the right, ‘‘ Pettenkofen.”’ 


A gypsy family is seen under a tent, ona plain. Two horses 
are tethered outside. There is a luminous blue sky with light 
clouds. The figures are painted in the most careful yet artistic 
manner ; each isa masterpiece of modeling and expression. The 
horses are drawn with knowledge and power and with wonderful 
suggestion of vitality. The effects of atmosphere and distance are 
expressed with subtlety and truth. In color this painting is refined 
and harmonious in the highest degree. 


45 


CHARLEMONT, EDUARD 


Born at Znaim, Moravia, 1848. Pupil of the Vienna Academy, 
under Engerth, and, later, of Makart. He visited Italy, studied 
in Venice, traveled in Germany and France, and finally settled 
in Paris. 'He received a medal at the Salon, Paris, in 1883, and 
a gold medal at the Exposition-Universelle of 1889. Was made a 
Chevalier of the Legion of Honor, 1895. 


Charlemont’s art received its chief inspiration from the early Dutch and 
Flemish masters. He is an artistic descendant of Pieter de Hoogh and of Van 
der Meer of Delft. In brilliancy of color, refinement of execution and 
virtuosity he has norivals. Among the works which have given him greatest 
reputation were his celebrated decorations for the foyer of the Imperial Burg 
Theatre in Vienna. The pictures by which he is represented in this collection 
are from the collection of M. Faure, the distinguished singer, of Paris. 


15 
THE ARTIST VAN DE VELDE IN: Hist ie 


Panel, 37 x 28% inches. Signed at the right, ‘‘E. Charlemont, 1890.” 


The painter, facing the spectator, is seated before his easel, 
intently engaged upon his work. Inasmall apartment at the side, 
the curtain at the entrance to which has been withdrawn, stands 
an attractive young woman wiping a plate and watching the painter 
through the doorway. In the near foreground, at the left, is the 
model of a full-rigged ship. The painter is garbed in black satin, 
with broad white lace collar and cuffs, and with a purple velvet 
cap on his head, out from which long curling brown hair falls over 
his shoulders. The young woman wears a yellow dress, blue 
apron, white cap and white kerchief. Over the top of the easel 
hangs a mass of rich green brocade drapery. The wall is covered 
with rich tapestry. Upon it hangs an old map. The picture is 
painted with most careful attention to details, and is rich and 
splendid in color. 


46 


EDUARD CHARLEMONT. THE ARTIST VAN DE VELDE IN HIS STUDIO 


“4 


A CUP OF TEA 


EDUARD CHARLEMONT. 


CHARLEMONT, EDUARD 


ag 


i [See No. 15.] 


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Ree Or “PEA 


Panel, 15 x 12% inches. Signed at the right, ‘‘E. Charlemont, 1884.” 


A dark-haired young woman in pink silk dress, with long, 
pointed bodice, a broad, pointed linen kerchief, and wearing an 
elaborate white lace cap, stands beside a table, pouring cream into 
a cup of tea. Upon the brown wall behind her hangs an ancient 
map, and partly covering it hangs a black felt hat, witha clay 
pipe passed through the band. In technique and rich coloring, 
this work is comparable with somewhat similar compositions by 
the early Dutch masters. 


17 
ati 
o? VAN DYCK’S STUDIO 


Panel, 2034 x 13% inches. Signed at the left, ‘‘E. Charlemont, ’82.”’ 


Interior of a handsome studio. The artist, in black satin 
costume with slashed doublet and sleeves and broad lace collar, 
facing from the observer, stands in front of his easel, upon which 
is the growing portrait of a beautiful young woman. At the 
right sits a man in a redcloth costume with brass buttons, 
observing the artist’s progress. Over the back of the chair in 
which he sits hangs a bit of blue velvet drapery. A_ broad 
brimmed black hat is hung on the top of the chair. There are rich 
tapestry curtains and various objects indicative of the wealth and 
taste of the painter. Below the easel falls a mass of bright green 
silk drapery, giving a strong color note. 


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EESSES LEO 


Born in Florence, Italy, 1858. Member of an artistic family. 
His father was a worker in mosaic, and three of his uncles were 
painters. He studied for a time in the Academy at Florence, and 
some years later was a pupil of Antonio Ciseri for a short while. 
He studied architecture and perspective with one of his uncles. In 
1880 he went to Paris and immediately began to achieve distinc- 
tion. Gold Medals, Paris Salon 1895, Munich pees Highest 
Award, Berlin 1897. 


While Meissonier was not actually Lessi’s master, he was so virtually, for in each of Tito 
Lessi’s works one finds those remarkable effects of light, the delicacy of touch, the regularity of 
drawing and love of representing the smallest objects, which certainly must place him forward in 
that school of painting where precision, conscientiousness and honesty are the supreme points of 
excellence. He appears to bea disciple of the Flemish or Dutch rather than of the Italian painters— 
a descendant of Terburg, Teniers or Peter De Hoogh. * * * Throughout Tito Lessi’s work there is 
constant evidence of ihe sincere and truthful; each picture has been the object of special study, of 
careful thought and elaborate working-out, and each seems to contain the plenitude of his 
qualities.—‘* The Italian Metssonier,” Art Journal, London, February, 1897. 


The comparison with Meissonier is the first that occurs to every critic when he becomes 
acquainted with the art of this skillful Italian. To invite such comparison would be presumption 
on anyone else; it is not so in Tito Lessi. Having remarkably good sight, a firm and delicate hand, 
indomitable patience, and a love of accuracy and completeness in the representation of objects 
whether living or inanimate, it is natural that Lessi should paint very much on the same principle 
as did Meissonier. Still, notwithstanding a coincidence of gifts and tastes, there is clear evidence 
that Lessi looks at everything with his own eyes. The resemblance of his work to that of 
Meissonier is more in clearness of vision thanin style.* * * His art, though technically most accom- 
plished, is in our time rare by reason of its scrupuious honesty, by its modesty and by the keenness 
of insight that it unobtrusively displays.—/Philip Gilbert Hamerton, in Scribner's Magazine, 
March, 1894. 


18 


THE: CARD BLAYVGERs 
Panel. 9% x1134 inches. Signed at the left, ‘* Tito Lessi.”’ 


Three men, each with intent expression, seated about a round 
stone table, out-of-doors, engaged in a game of cards. The figure 
nearest the spectator wears a coat of pink satin; the man next 
him is in black, and the one across the table has thrown off his 
coat and hat and appears in shirt-sleeves and red. vest. His 
discarded red coat lies across a chair in the foreground. Beyond 
the figures, one sees the end of a country house and a thicket of 
rich greens, with the sparkle of sunshine penetrating the foliage 
and jewel-like touches of blue sky showing through. In character 
of subject, composition, color and technique, this picture particularly 
suggests the work of Meissonier—with whom Lessi is so con- 
stantly compared. 


TITOSLESSI.-1 HEF CARDSPLAYERS 


LESSI, TITO 


a [See No. 18.] 


wy? or 19 
THE VIOLINIST OF THE CONVENT 


Panel, 18% x 14% inches. Signed at the right, ‘‘ Tito Lessi.”’ 


Standing near a window, in an apartment of a convent, is a 
young man in a dark gown, nervously playing a violin. His face 
reflects the elevation of his soul and his love for his art. A 
middle-aged monk in a white robe and a black cowl is seated in the 
foreground, and a younger man, similarly garbed, sits at the end 
of a table, at the extreme left. Both are impressed by the play- 
ing, which evokes retrospection—perhaps introspection. The table 
is covered by a rich crimson brocade, and upon it are books and 
music. An eagle lectern. with an ancient missal, rises at the 
right. The upper windows are of bright-colored glass, and a 
green curtain hangs at the side of the window. In subject, feel- 
ing, composition and color, this is one of the most successful of 
Lessi’s pictures. In technique it is most admirable. 


20 
i oa READING A DOCUMENT 
Jv 0 Panel,-934 x 12 inches: Signed at the right, ‘‘ T. Lessi.’’ 


Two men are seated near a table, under a large window. 
One, facing the spectator, reads from an ancient parchment folio 
which he holds in his left hand, while he gesticulates with his 
right. Facing the reader, sits the second man, with profile 
toward the observer, leaning forward with intent expression. 
The reader wears a coat of flowered gray velvet, with broad lace 

_ cuffs, and black knee-breeches. He is seated in a large red 
velvet-covered chair. The listener has a red velvet coat embroi- 
dered with gold, and gray breeches. On the table are books, 
writing-materials and a lamp with a green shade. Thereisa 
green chair, also, piled full of old books and manuscripts. The 
gradations of light in the apartment are expressed with rare 
truthfulness. The painting, throughout, is finished with the 
utmost detail, yet with a breadth of handling closely recalling the 
work of Meissonier. 


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MEISSONIER, JEAN LOUIS ERNEST 


Born at Lyons, France, February 21, 1815 ; *ciedminmaanies 
January 31, 1891. In 1830, Meissonier went to Paris and studied 
four months under Leon Cogniet. He formed his technique 
mainly, however, upon careful study of the Old Masters—particu- 
larly those of the Dutch school. Medals: third class, 1840; sec- 
ond class, 1841; first class, 1843 and 1850; Medals of Honor, 
1855, 18607 and 1878; Chevalier of the Legion of Honor, 1846; 
Officer, 1856; Commander, 1867; Grand Officer, 1878. Member 
of the Institute, 1861. One of the founders and the first President 
of the Société Nationale des Beaux -Arts, Paris. 


pa) \ 


LAYVEDE LTE 
Panel, 1734 x 13%. Signed “‘E. M.” at the right. 
From Meissonier’s studio after his death. 

A Guardsman, with alert expression, standing erect in the 
foreground. In the distance, two other soldiers are slightly but 
deftly indicated. The soldier is studied in the most careful and 
comprehensive manner, yet is painted with broad and simple 
technique. Every strap, every buckle, every button is in place 
and fulfils its function. The landscape, while merely suggested, is 
rich in warm greens and browns; and the sky, filled with bright, 
luminous white clouds—with a patch of clear blue showing through 
—is painted with close observation, knowledge and fine effect. 


22 
THE] WHITESUORS ts 


Se Canvas, 11% x 8% inches. Signed ‘‘E. M.’’ at the left. 


From Meissonier’s studio after his death. 

The horse, in the foreground, stands facing to the right. 
The animal is drawn with wonderful accuracy and spirit, and is 
painted with all the vigor and spontaneity of the first impression. 
At the extreme right of the composition, a red horse is hastily 
sketched in—and even in the few strokes by which this is accom- 
plished, one may recognize the brush of the master. The fore- 
ground is a sandy road; beyond it is a suggestion of rich green 
foliage under a luminous blue sky. 


*Study of the Emperor Napoleon's Horse. 


56 


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FORTUNY, MARIANO 


Born at Reus, near Tarragona, Spain, June 11, 1838; died in 
Rome, November 21, 1874. In 1853, he entered the Academy of 
Fine Arts at Barcelona where he remained until 1856, studying 
meanwhile under Claudio Lorenzalez. He gained the Przx de Rome 
in 1857, and the next year went to Rome, where he produced some 
works of great interest and promise. At the breaking out of 


~ war between Spain and Morocco, Fortuny accompanied the army 


to Africa, where he made many sketches in oil and water color. 
This experience was most valuable to him. Having returned 
to Barcelona, the Town Council provided him with funds to 
travel and prosecute his studies further. He then went to Paris, 
where he became the friend of Meissonier, and later he went 
to Florence. , He then made a second visit to Africa, where he 
remained for six months. In 1866 he again went to Paris, and in 
1868 once more went to Rome, where he painted his great picture, 
‘A Spanish Marriage.’’ In 1870 he went to Granada to live, 
and in and about the Alhambra painted some of his best pictures. 
He went to Rome again in 1873, and, with the exception of a short 
journey to Paris and London, there he remained until his death. 
He was made a Chevalier of the Order of Charles III. of Spain, 
and was accorded the Diploma to the Memory of Deceased 
Artists at the Paris Exposition-Universelle of 1878. 

In his genre, Fortuny was the head of aschool. Endowed with a pro- 
found talent for manipulation, he created the ecole de la main. His science, 
united to a certain charm to which everyone yielded; his love of light, his 
worship of the sun, and a unique something in the choice, the idea, and the 
rendering of his subjects, made for him a reputation which was legitimate. 


Fortuny has many imitators, but the majority of them fail to represent in 
their works, as he did, the character—the soul—of things.—Charles Yriarte. 


23 
A SPANISH, LADY ~~ [Aquarelle] 


a a STUDY OF A FIELD 


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INTERIOR OF A COURTYARD ©[Sketch] 
The above works not yet having been released from the Custom House 


when this catalogue went to the press, it was impossible to prepare any 
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A Special Collection of Pictures by the Austrian Landscape 
Painter, Eugene Jettel, 


JETTEL, EUGENE 
Born at Vienna, Austria, in 1850. Pupil of the Academy at 
Vienna and of Theodore Rousseau. Member of the Societe 
Nationale des Beaux-Arts (Champ-de-Mars Salon). Member of 
the Jury, Exposition-Universelle, Paris, 1889. Chevalier of the 
Legion of Honor. First Class Medal, International Exposition, 
Munich, 1801. 


Eugene Jettel, the Austrian; J. C. Cazin, the Frenchman, and Anton 
Mauve, the Dutchman, are of the present generation of landscape painters who 
have brought the harmony of tones and the impression of light and nature to 
the highest degree of perfection. They are the most prominent of all in these 
particulars, and really are worthy to be compared with the great painters of 
the Barbizon school. Eugene Jettel’s works especially show the characteristic 
qualities of Rousseau, Corot and Daubigny; a direct and intimate study from 
nature, agreat variety of colors and effects, the most exquisite delicacy of tones 
and the impression of ‘‘ plein-air.’’ In looking at a picture by Jettel, one has 
a similar impression as when, upon opening a window, one feels the freshness 
of pure atmosphere. The artist Meissonier was a great admirer of Jettel’s 
painting, Pettenkofen ranked him with the great landscape painters of the 
Barbizon school, and Munkacsy frequently has expressed himself in tribute to 
the personal and poetic quality of his work. 

Eugene Jettel’s pictures are mostly in the possession of French and 
English collectors, but during the last few years some of them already have 
made their way to America. The following American collectors, among 
others, possess works of Jettel: Mr. Morris K. Jesup, Mr. Charles Lanier, 
Mr. S. M. Milliken and Mr. Charles T. Yerkes, of New York; Mr. Ch. D. 
Fisher, of Baltimore; Mr. W. C. Rice and Mr. F. B. Green, of Boston; Mr. 
Charles Counselman, Mrs. C. P. Hanford, Mr. Charles D. Hamill, Mr. O. W. 
Meysenburg and Mr. A. A. Sprague, of Chicago; Hon. John Wanamaker and 


_ Mr. E. T. Stotesbury, of Philadelphia, and Mr. L. Z. Leiter, of Washington. 


Pictures by Jettel also are in the collections of the Metropolitan Museum of 
Art, New York, and the Art Institute, of Chicago. 


26 
DUTCH LANDSCAPE, WITH RISING MOON 
Canvas, 26 x 35% inches. 
At the left, a calf is drinking from a pool of water, in which, 
on the opposite side, are four geese. In the middle distance, near 
two large wheat-stacks, peasants are loading a cart. A wooden 
fence and a wind-mill are on the right. 


60 


A ROAD IN HOLLAND 


3 


27 BUGENE-JELTEE: 


ee 27 
re, O A ROAD IN HOLLAND (Illustration) 
, Canvas, 33 x 47 inches. 
Twilight effect after a rain. A road leads through the center 

of the composition, with a peasant riding a white horse and leading 
a dark bay horse. Water standing in the ruts and depressions of 
the road reflects the golden color of the sky. Houses of a small 
village are seen through rows of trees. 


28 
eel SEORKS IN A POOL 
fs : 
ii A Canvas, 22 x 31% inches. 

A marshy landscape with a pool in the foreground and a 
narrow foot-bridge crossing one end of it. A stork stands in the 
tall grass in the near foreground, another stands in the pool, anda 
third is flying from the opposite shore toward the spectator. A 
man comes forward on the path toward the bridge. 


29 
pode FARM AND DUNES AT CAYEUX, FRANCE 
aad a 
47 Canvas, 1514 X 27% inches. 

Pasture-land near the sea, with two cows in the foreground, 
One razing, the other lying down. At the left, in the middle 
distance, are long farm buildings; at the right are sand dunes. A 
woman comes forward from the direction of the buildings. Bright, 
luminous sky. 


—— 30 
Vis “2 MEADOW-LANDS, WITH SETTING SUN | 
Panel; 15 x24 inches. 


The foreground is a meadow on which a peasant is mowing 
grass. There is a pond in the middle distance. Two windmills 
are seen in the distance, at the right. The crimson disc of the 
sun is sinking below the horizon. 


a 31 
kG Be VILLAGE IN HOLLAND—MOON-RISE 
G' O t Panel, 20 x 35% inches. 
A peasant woman, driving two cows and some ducks, on a 
road leading to a village, seen on the left. 


63 


32 
yp? a VIEW AT GIESSEN, SOUTH HOLLAND 
a as Panel, 20% x 32% inches. aes 
A broad canal covers the whole of the foreground. At the 
left are ducks’ nests and tall weeds and grasses: On the 
opposite bank are the red roofed houses and the church of the i 
town. 


op 
melee DUTCH RIVER SCENE; EVENING SERRE: 
Pal Panel, 1134 x 1934 inches. 
i River in center and foreground. On the left is a road alon 
the river, bordered by trees which partly hide a house, near which 
is a cart drawn by a donkey. In a meadow, at the right, two 
cows are grazing. 
34 
20.0 ~ THE BANKS OF THE LOING (Illustration) 
— Panel, 23 x 32 inches. 
View at a bend in the river, which is swollen by recent rains. 
The right bank is bordered by willows. A small boat is drawn 
up to the shore in the foreground, and further along a man sits 
on the river-bank fishing. Beyond the bend of the stream, in the 
distance, is a vista of farming country at the right and a grove of 
trees at the left. Rich greens in the foreground. Very lumin- 
ous sky. 


35 
| - THE VILLAGE OF KATWYK; HOUR 
/ pO Panel, 20 x 2734 inches. 
At the left, a group of two women and four children are seated 
on the dunes. Several fowl are on the road leading to the vil- 
lage. In the distance, at the left, is a glimpse of blue sea. Even- 
ing effect, with purpling sky. 
36 
et A ROAD NEAR CAYEUX, FRANCE 
hee = Canvas, 163 x 23% inches. 
Road leading through a village. A man riding on a white 
horse, leading a dark bay horse. Ducks by the road side. 


64 


ONIOT 


aH AOS INV 4d AH Ea L Lae AINA ve 


NVWUAHSIS JHL “THLLaS ANFONA OF 


a a. 


37 
i 0 4 COTTAGE NEAR CAYEUX, FRANCE 
/ Canvas, 13% x 21% inches. 


A cottage near the centre of the composition, with a cart in 
front of it, flanked by a tree at the left. Windmill beyond. 
A little girl, seated, and five ducks are in the right foreground. 


Pao ENG AR CAYEUX, FRANCE 


Canvas, 14 xX 21% inches. 


Fae 


Road through the centre of the composition, with .a flock of 
sheep followed by the shepherd, who wears a blue vest. At the 
left, grain fields with a cluster of small trees. 


‘ i 39 
y) Va MEADOWS NEAR CAYEUX, FRANCE 
. Canvas, 16% x 25 inches. 


In the foreground, near a wooden fence, a cow—dark red, 
patched with white—is lying down. Beyond, three other cows 
are grazing. Group of trees and cottages at the left. 


THE FISHERMAN  (lllustration) 


Canvas, 2534 x 36 inches. 


ae 


Landscape, with river coming into the foreground at the left. 
In a boat drawn up to the shore is a man whois fishing. Clumps 
of trees in middleground and distance. Houses of a village are 
seen in the far distance. 


ot 3 
/ 0 WEN INGIHOAKD YY“ PRANCE 
Canvas, 17 x 25% inches. 
Three peasants are loading a dray drawn by three horses near 
a huge wheat stack. Houses of a village are seen beyond. 


69 


42 
ge RIVER SEEN IN HOLLAND 


| G0 Panel, 13 x 16 inches. 


In the foreground are two ducks’ baskets; others are placed 
along the opposite bank of the river, which is enlivened by 
numerous ducks, and is crossed, in the distance, by a wooden 


bridge. 
43 
[0 ae HOLLAND MEADOWS 
/ Panel, 17 x 29% inches. 


In the foreground, near the centre of the composition, a brown 
cow patched with white is lying down. A great many other cattle 
are distributed through the fields. There are red roofed houses 
and windmills surrounded by trees in the distance. 


os 
ad ilk 44 
/ DUTCH RIVER VIEW 
Panel, 10 x 16 inches. 

At the right is a broad, sandy road on which a number of ducks 
may be seen. In the middle distance, near the bank of the river, 
is a windmill. 

ie 45 
ut O COWS IN A MEADOW 
| Canvas, 1234 x 1934 inches. 


A cow, brown, with patches of white, stands near the centre of 
the composition, facing from the spectator. Two other cows are 
at some distance further back. The outskirts of a town are faintly 
seen in the distance. 


40 
Pie COTTAGES. BY s~HEe RIVER 


/ 3 J Panel, 1434 x 21 inches. 


On a river which extends into the right foreground, a man in 
a boat is angling. Beyond, toward the left, is a group of 
cottages. A single white house is seen in the distance, on the 
right. 


70 


THE RISING MOON 


47 EUGENE IE LEE, 


47 
tee 


Bo? THE RISING MOON (Illustration) 


Canvas, 25% x 39% inches. 


In the foreground is a pool with three cows standing in the 
water. Beyond, is a wall, above which is seen the upper portion 
of afarm house. The moon is rising ina sky suffused with the 
rosy reflection of the sunset. 


48 
Pee ; 
pee RIVeR SCENE NEAR VENEUX NADON, FRANCE 


Canvas, 23% x 33% inches. 


River in the center, stretching along the foreground and partly 
covered with water plants. Reeds and tall grasses growing 
abundantly near both banks. Two cows are drinking from the 
river in the middle distance. Meadow, with cattle grazing, 
skirted by a wood on the right. 


49 


O O EARLY SPRING 
i Canvas, 1734 x 26% inches. 

Extensive pasturage, intersected by rows of trees. A cow, 
black with patches of white, is lying in the left foreground. 


Other cattle are distributed through the meadows. 


50 
J 207 THE RIVER SEINE, NEAR MONTEREAU, FRANCE 
Canvas, 18 x 25 inches. 


Green meadow in the foreground with some ducks at the left. 

' Group of birch trees in the center ; red cow grazing beyond. On 

the left is the river Seine, crossed by a three-arched bridge in the 

distance. On the river bank is a man angling, and two other 
figures are near him. 


73 


ae ; 

) 
ae THE RIVER OISE, NEAR ISLE ADAM, FRANCE 
7. 


Canvas, 33 X 21 inches. 


Richly wooded landscape, divided by the river, which is crossed 
by a two-arched bridge in the distance. Several small boats are 
moored along the shore. On the left foreground are bushes and 
water plants. 


52 
yo ve A MAN SPADING 
/ Canvas, 1734 x 30 inches. 


A man spading in a somewhat neglected garden. Upon a 
bank of earth at the right are the remnants of a fence, mostly 
fallen away. Across this, one seesthe roofs of the houses of a 
village. In the foreground are tall weeds and vegetables, mostly 
gone to seed. Sunflowers are growing at the left. 


53 


0 Vi LANDSCAPE IN HOLLAND 
D7 Canvas, 16% x 24%. 


Roadway bordered by a narrow canal. A herdsman, coming 
down the road toward the spectator, drives a number of cows 
before him. Windmill in the distance At the left of the canal 
willow trees are growing. Man plowing in a field in the middle 
distance. Luminous sky, with light clouds. 


First Medal, Berlin, 1889. 


54 
Sas 
M()0 ROAD THROUGH A VILLAGE; SUNSET (Illustration) 
| Panek, 31 X46. 


A road leading through a village. Effect of twilight after rain. 
Covered carriage with two horses comes down the road toward 
the observer. Cottages at the left; farm-buildings at the right. 
A picture particularly rich in warm color. 


/ 


74 


“ 


«4 EUGENE JETTEL. 


ROAD tHROUGH A VILLAGE, SUNSET 


55 


ee VIEW OF REGENSBOURG 


Canvas, 24% xX 34. 
A stream, partly filled with reeds, leads from the foreground 
at the left toward the village, the roofs and church-towers of 


-~ which are seen if the distance. On the stream is a boat, from 


aa 


4 


[6° 


which a man is fishing. On the right shore, among rich ereen 
orasses, are several ducks. Beyond is a clump of trees, with a 
house half-hidden among them. At the left, in a field, several 
women are working. There is smoke rising from a small fire. 
Bright, luminous sky. 


56 


an FARM NEAR EPINAY, BARBIZON 


Canvas, 18 x 25%. 

Meadows, with ducks in the foreground and cattle in the middle 
distance. Atthe right, the houses of a farm with willows in front. 
There are tall weeds and grasses in the near foreground. Trees 
of an orchard are seen beyond a fence in the distance. 


7 
RIVER eV IEW WITHSDUCKS 
Pancis2o-x 32. 

A stream stretches across the foreground and turns into the 
distance, where it is crossed ;by a narrow bridge. Two duck 
baskets are in the stream near the foreground, and several others 
line the shore on the opposite side. There are many ducks on 
the river and on-its banks. Across the stream, at the right, are 
meadows with grazing cattle. At the left is a rich green field. 


poe 


58 
Tg FARMHOUSE BY THE ROADSIDE 


a Canvas, 17% x 20. 


A road leads from the foreground past a farm-house with red 
tiled roof, a cluster of trees and a straw-stack, at the right. 
Kneeling figure in the grass/in the foreground. Vista of a river in 
the middle-distance, at the left. In the distance, a man in a 
buggy, driving down the road toward the spectator, has stopped to 
speak to a woman by the roadside. | 


Pi, 


59 


0 el PIGS AND DUCKS BY A RIVER 

HO Panel, 1534 X31. 

b View along the clayey bank of a river. Pigs and geese in the 
foreground, and a man lying in the shadow of a bench of earth, 
lazily looks after them. Two boats are drawn up to the edge of 
the stream; a child leans over the edge of one of them. In the 
distance, across the river, isachurch. Very luminous, silvery sky. 

| 60 
Ko gs VILLAGE NEAR ROTTERDAM; SUNSET 
Ze Panel, 1734 X 33%. 
Stream with swampy low-land in the foreground with cranes. 
Sail-boat drawn up near the shore. The tops of houses and 
windmills are seen above the trees that grow above the river 
bank. Twilight sky, red along the horizon, with dark clouds 
above. Subject and treatment somewhat suggestive of Daubigny. 
OI 
: oe NEAR KATWYK, HOLLAND; MOON-RISE 
/ » we) (Illustration) 
Canvas, 18% x 24. 


Road in the foreground, with woman sitting by the roadside. 
The red-roofed houses of the village in the middle distance. Moon 
rising in a tender sky holding a faint reflection of the sunset. 


62 
COTTAGE ON. THE ROAD TO CAYEUX# FRA 


00 ae EVENING 


| 6 Canvas s16'4 40222. 
Old farmhouse, with thatched roof, at a bend in the road, 
beside which runs a ditch containing very little water. Three 


ducks are on the water and several are in the grass at the sides of 
the ditch. At the right is pasture-land. Horse and cart come 
down the road toward the spectator. Wall of an estate at the 
opposite side of the road. Twilight sky. 


7S 


NEAR KATWYK, HOLLAND, MOONRISE 


EUGENEVIETTEL:? 


61 


ys 


63 


oo RIVER NEAR VENEUX NADON 


Canvas, 20% x 29%. 


Stretch of landscape with river at the left. Three men by the 
fiver, one ol them fishing. Houses of the village seen in the 


distance. Ducks in the foreground. Gray sky. Group of trees 


in the near foreground at the right. 
64 


‘Panel, 22% x 16%. 
Pool near the foreground, with ducks. Willow tree at the 


ny oe BPEOOr NEAR A CHATEAU, BRITTANY 
ne 


right, and dense mass of trees and bushes at the left. Beyond 
are the white walls and red tiled roofs of a chateau. 


65 
as | 
| el SUNFLOWERS IN A GARDEN 


{ %, e) Canvas, 18 x 29. 
4 


joe 


as 


Dee 
re ae 


A kitchen-garden with sunflowers, cabbages, etc. An old 
woman working in the middle distance. Over the garden-walls 
are seen the roofs of the houses of a village. 


66 


RIVER IN HOLLAND, WITH DUCK-BASKETS 


Panel, 16% x 20%. 
Stream in ‘the foreground, with duck-baskets. Across the 
stream, a group of houses is seen through the openings in a grove 
of trees. Luminous gray sky. 
67 
PASTURELAND 
Ganvas, 22.x 3414. 
View near the bend in a stream. A cow, dark brown with 
patches of white, lies in the foreground. There is another cow 
standing in the stream, and, on the clayey bank opposite, are 
several other cattle, near a group of trees. A hillside, with 
clumps of trees, occupies the middle distance. 
81 


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